In this post-major-label era when many of the so-called barriers to entry have been swept away, the fact that a recording artist is prolific doesn’t provide a reliable indicator as to the quality of that output. When you get right down to it, anybody can “release” anything they want, whenever they like. So it’s important
To the list of artists who release stunning amounts of material – Robert Pollard, R. Stevie Moore – we must now add Fernando Perdomo. The guitarist-producer has been on quite a tear since relocating from southern Florida to Los Angeles some years back. In addition to producing other artists, engaging in tribute and collaboration projects
If you read Musoscribe with anything approaching regularity (and sincere thanks if you do), the name Fernando Perdomo will be a familiar one. An in-demand multifarious session player, he also finds the time to release what seems like an album per month. His latest project (or latest of which I am aware as of this
It can’t have been easy being Andy Gibb. It would be challenging enough to have a famous older sibling scoring hit after hit and then trying to have a music career of your own. But Andy had three older brothers doing it. Not only could Barry, Robin and Maurice sing, but they could write. Andy
Rick Hromadka’s music has gone in a number of directions, and every single one of his efforts has been interesting. In fact, more than a few of his projects classify as “great.” His Galaxyland from 2010 – with/as Maple Mars – is a true classic. And while his soft-rock projects as Ruby Free haven’t wowed
Here’s five more brief reviews; this time we’ve got progressive rock, powerpop, indie chamber pop, goth rock and one album that’s simply beyond easy classification. What they all have in common is that they’re new, they’re indie, they’d be likely to escape your notice if you didn’t visit Musoscribe, and they’re all quite, quite good.
Fernando Perdomo is everywhere (including the virtual pages of this music magazine). Equally comfortable in (and skilled at) progressive rock and powerpop, he’s a utility man to the stars since his relocation to Los Angeles. He’s a multi-instrumentalist, producer and songwriter. I hesitate to call Open Sound his latest project, because it’s highly likely that
I’ve come across Kerzner’s music before; he made a quite-good Yes tribute with frequent collaborator Fernando Perdomo, and I reviewed his concept album Static just over two years ago. This new 2CD set, however, will be the best entry point for those new to the man’s work. A survey of his work to date, Breakdown
Here’s the final installment of the year (and the decade!) of my quick, condensed album reviews. Ten titles, 100 words each. Seven are new releases; the remaining three are archival and/or reissue releases. There are some SERIOUS gems in here. Sweet Lizzy Project – Technicolor When most people think of Cuban music, their thoughts turn
The creatively fertile and incalculably influential Laurel Canyon scene if the middle 1960s is explored in Echo In the Canyon. It’s not quite a documentary in the sense that it concerns itself nearly as much with current artists in the studio and onstage as it does with the moves and shakers of five decades ago.